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Agharta
 
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Agharta

23 Jan. 1995 | Format: MP3

£6.99 (VAT included if applicable)
Also available in CD Format
Song Title
Time
Popularity  
30
1
26:01
30
2
6:33
30
3
12:19
Disc 2
30
1
26:20
30
2
25:31
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Product details

  • Original Release Date: 22 Jan. 1991
  • Release Date: 23 Jan. 1995
  • Number of Discs: 2
  • Label: Legacy/Columbia
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 1:36:44
  • Genres:
  • ASIN: B001GW46WY
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (10 customer reviews)
  • Amazon Bestsellers Rank: 44,876 in Albums (See Top 100 in Albums)

Customer Reviews

4.3 out of 5 stars
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Most Helpful Customer Reviews

45 of 45 people found the following review helpful By Adam V VINE VOICE on 15 Mar. 2003
Format: Audio CD Verified Purchase
The first of two albums taken from the same concert in 1975, the other being 'Pangaea.' They represent a full stop at the end of Miles'70s experiments before his five year 'retirement.' It had been arguably Miles' most creative phase of his career, and here, predictably, things are still changing and developing.
'Agharta' is probably the more approachable of the two records.
The sound is often dense, characterised by dual electric guitars and layers of percussion, as well as Miles' electric trumpet, frequently voiced through a wah wah pedal, adding a further dimension to his playing, as the harmon mute had for so long. Miles said he was looking for a 'deep African groove' and there is certainly something of that here, especially on the opening 'Prelude,' which is irresistably funky, with first Miles' trumpet then Sonny Fortune's sax dancing over the exuberant rhythm.
'Mayisha' is quieter, largely a feature for Fortune's excellent flute work.
On disc two, the tracks seem to me to be listed the wrong way round, as the opening of 'Interlude' is definately from 'Jack Johnson.' To avoid confusion, though, I will refer to them as they are tracklisted.
'Interlude' contains mood changes from fast and furious, to bluesy, to slow and eerie. Miles is on excellent form on this one.
'Theme from Jack Johnson' is a simmering, brooding piece mainly featuring the two guitarists, Miles on organ and Fortune on flute.
Miles' own trumpet playing has a fragile sound and tends to feature most in the quieter passages. As ever, his solos are spacious and inventive, sometimes mournful and reflective as on 'Jack Johnson' sometimes bluesy as on 'Interlude' and sometimes fast and lively as on 'Prelude.
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9 of 9 people found the following review helpful By Numinous Ugo on 27 Feb. 2008
Format: Audio CD
I do really like some of Miles' post 1981 stuff but it never really reached the heights of his earlier innovations, the two great quintets and then the "funk" period. At the point that the two albums (that marked the end of his playing and public appearances and the beginning of his 6 year hiatus) Miles' art had developed into a free flowing tumbling mix of tunes and themes that the band had to keep up with on the run. This is such wonderful stuff but it required total commitment and Miles was showing the signs of the strain (see Ian Carr's biography for details, Miles' autobiography has a certain interest but does not engender the sympathies of the reader)Both Pangaea and Agharta were recorded on the same day, February 1 1975, and the quality of the playing is top notch. I have the original CD versions of these albums and I have long desired that they be re-issued in re-mastered form. Japan seems to get all the re-mastered albums before we do in UK and I await their arrival keenly
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7 of 7 people found the following review helpful By Amazon Customer on 25 Sept. 2009
Format: Audio CD Verified Purchase
Have loved this album and Pangaea since their first release.

I would like to offer a perspective on Miles's trumpet sound during these albums.

This review is from: Miles to Go: The Lost Years by Chris Murphy - Chris's experience of living and working with Miles as his Roadie from 1973 to 1976 and 1981 to 1983.

There is one story about Miles at the time of the 1975 Agharta and Pangaea live recordings which was so touching. Chris explains the pain and pathos in his trumpet solos on these sessions were a real reflection of the actual body pain he was experiencing whilst playing. The conversation that followed when Miles came off stage was this; Chris said, "Miles, that had all the pain in the world in it." Miles turned to Chris and smiled and said, "It's supposed to." Now that is Miles living and performing in the moment.

This says it all!
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3 of 3 people found the following review helpful By H. S. Crow on 5 May 2012
Format: Audio CD
I find quite a lot of the 69 to 75 live recordings lacking coherence but this and its companion piece are my favourite concert recordings of the period. Live Evil has many stand out moments but McLaughlin spoils it for me as he almost sounds over dubbed; I wasn't surprised to hear that he wasn't a regular member of that touring band but was roped in for the recording according to the original sleeve notes.
Dark Magus by comparison seems much less expansive and the recording quality leaves a lot to be desired. Note. I generally really appreciate McLaughlin's contributions but he seems lost on Live Evil.
So not exactly easy listening especially compared to the extended Jack Johnson and In a Silent Way sets but my favourite Miles of all time.
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1 of 1 people found the following review helpful By D J F on 3 Mar. 2015
Format: Audio CD
Agharta captures the matineé performance of The Miles Davis Septet on the day he retired from recording for the first time. Sure, there are a few subsequent concerts recorded by audience members after this which are available as bootlegs, but together with that evening's performance, released as Pangaea, these albums act as the culmination of Miles' electric period experimentations, for when he came back after six years debauchery, rest and recuperation it was as a changed and mellower man. Recorded in Tokyo on 1st February, 1975 by Teo Macero, the first thing that hits you is how this concert ROCKS, the second thing how well recorded an clear everything is. The whole is effectively one long jam session, only picking up occasional themes from previous studio work in what is effectively a unique release. On that basis alone it's worth purchasing for Davis fans, with four long tracks split over two discs:

Prelude (32:35)
Maiysha (12:20)

Interlude (26:50)
Theme From Jack Johnson (25:16)

At no point do any of these long tracks repeat themselves or overstay their welcome thanks to a tight band neatly capturing Miles' Jazz-Rock-Funk fusion experiments in almost a logical conclusion of how far they could go. It's like "Jack Johnson", "The Cellar Door Sessions" and "On The Corner" described the palette available, and "Agharta" makes sense of the best of those albums to paint a masterpiece. Bubbling, churning, gurgling funk; cross-polyrhythms with the band individually describing different time signatures, all comes together as a whole.
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